Odessa

Well. Not just a Bee Gees album, but a Bee Gees concept album. Not just a Bee Gees concept album, but one where significant creative differences resulted in not just one but two Bee Gees concept albums. About a Ukranian port. The first song alone lasts 1 day, 7 hours and 34 minutes.

Expectation: Some funky Bee Gees beats to energise my day Reality: What the hell is this

The Bee Gees were a lot more successfull at ripping off black artists than they were at ripping off white artists

This evening I found a cold wet washcloth behind the toilet in my kids' bathroom and found it more interesting than this album. I was actually looking forward to this, but the Bee Gees Odessa is terrible, has zero personality and was a huge disappointment.

Thank Jeebus disco happened.

This album showcases two things, neither of them good. Firstly, it highlights the problems that arise when an artist takes themselves too seriously; secondly, it illustrates how concept albums, although sometimes excellent and often make the lists of the best albums of all time, can also be hugely overrated and misguided. This album, to me, takes all of the fun out of a band that have created a lot of good, danceable tunes, without providing anything with any genuine further substance. At over an hour long, this thing rambles along with ideas that aren't nearly as interesting or profound, or even just as epic-sounding, as the Bee Gees must have thought it was at the time of recording. Suddenly and Whisper Whisper were the highlights on this for me, being two good tracks that didn't go on forever and were enjoyable to listen to. The rest of it went down like the Odessa

I like the Bee Gees pre disco albums. This is sort of their magnum opus - a big sprawling concept album in the wake of Sgt Pepper's, with hints of Beach Boys/Pet Sounds, Dylan's more country inflected sound here and there, and maybe a bit of Nilsson? I'm a sucker for this sort of ambition. One thing that I think holds this album back is the lead singing style, which often comes across so melodramatically when they lean in on that vibrato. I can see how it can be a big turn off to some but to me it is just sort of funny - which I'm sure is not the intended reaction. This sounds like the soundtrack to a musical and I find it quite enjoyable. Drags on a bit towards the end though.

Only *nine* reviewers in here gave a 5/5 grade to this. Including a 80-year old lady who stopped giving reviews in 2021 after a few of them. I hope she's doing fine and just got bored with the app. It was lovely reading her impressions. Nice call adding the dates to the reviews, by the way. About *Odessa* now... Knowing this double album's "reputation", I expected to hate its guts. Turns out that out of those four sides, I really enjoyed side two. Everything from "Marley Put Drive" to "Whisper Whisper" was nicely done, with Beatles-like undertones (in the latter's mock-novelty-cuts guise) and/or catchy melodic moments (see "Marley Put Drive" and "Edison"'s choruses). Unfortunately, everything else is just schmaltzy drivel plagued with saccharine layers of nothingness. Those added strings sound as if you're stuck in a mental institution--I can imagine the album being played through speakers in a scene right out of *One Flew Over The Cuckoo's Nest*. Such music is so ridiculous it sounds like a perverted parody of itself. The songs have no build-up, no sense of direction and no focus (and this concerns the lyrics as well, by the way). Questionable production choices make some moments incredibly awkward. And don't get me started on the Gibbs brothers' leaning to overindulge in those horrid vibrato-laden vocal parts. So grating. Disco would later save the Bee Gees' asses. Who didn't shake a leg on *Saturday's Night Fever*'s soundtrack? But when it comes to *Odessa*, c'mon guys, let's be a little serious for one second. An essential listen this album is *not*. Number of albums left to review: 760 Number of albums from the list I find relevant enough to be mandatory listens: 120 Albums from the list I *might* include in mine later on: 58 Albums from the list I will certainly *not* include in mine (many others are more important): 63 (including this one)

Very weird coincidence to get this album on the day Russia invades Ukraine. Anyway, utter crap.

Well, I don't know what I was expecting but it sure wasn't a store-brand Beatles album. If it weren't for Gibb's ridiculous vibrato and the blatant rip-off nature of the album, it'd almost be good. But it's not.

What a shocking album. I struggled to make it beyond the first track. It's billed as a concept album. That concept must be themed around crap. Lyrics such as "You know the neighbours that live next door, they haven't got their dog anymore..." don't help. I wish zero stars was an option.

The group members may disagree for personal reasons, but Odessa is easily the best and most enduring of the Bee Gees' albums of the 1960s. It was also their most improbable success, owing to the conflicts behind its making. The project started out as a concept album to be called "Masterpeace" and then "The American Opera," but musical differences between Barry and Robin Gibb that would split the trio in two also forced the abandonment of the underlying concept. Instead, it became a double LP -- largely at the behest of their manager and the record labels; oddly enough, given that the group didn't plan on doing something that ambitious, Odessa is one of perhaps three double albums of the entire decade (the others being Blonde on Blonde and The Beatles) that don't seem stretched, and it also served as the group's most densely orchestrated album. Yet amid the progressive rock sounds of the title track and ethereal ballads such as "Melody Fair" and "Lamplight" were country-flavored tunes like "Marlery Purt Drive" and the vaguely Dylanesque bluegrass number "Give Your Best," delicate pop ballads like "First of May" (which became the single off the album), and strange, offbeat rock numbers like "Edison" (whose introduction sounds like the Bee Gees parodying Cream's "White Room"), and "Whisper Whisper" (the latter featuring a drum break, no less), interspersed with three heavily orchestrated instrumentals. Even the seeming "lesser" numbers such as "Suddenly" had catchy hooks and engaging acoustic guitar parts to carry them, all reminiscent of the Moody Blues' album cuts of the same era. Moreover, the title track, with its mix of acoustic guitar, solo cello, and full orchestra, was worthy of the Moody Blues at their boldest. The myriad sounds and textures made Odessa the most complex and challenging album in the group's history, and if one accepts the notion of the Bee Gees as successors to the Beatles, then Odessa was arguably their Sgt. Pepper's. The album was originally packaged in a red felt cover with gold lettering on front and back and an elaborate background painting for the gatefold interior, which made it a conversation piece.

No disrespect to Redcliffe but this was average at best. Their harmonies sometimes sounds like Free Willy calling out for his mum when he was stuck in the fish tank. Suddenly and Whisper Whisper were good though.

Wow, didn't expect this at all, I quite liked it. I wonder when they changed their style drastically, might investigate..

Beatles ripoff (complimentary)

not my Bee Gees

How bout that opening track? The album really gets off to a good start - LOL. I find it hard to like anything on Side 1. The start of Side 2 is hopeful as the banjo comes out and they venture to the country on Marley Put Drive,  but there is way too much fussing over the vocals for the country sound to work. In the next track, Edison, they decide to repeat the phrase "Edison Came to stay" 100 times. I don't get it. Whisper Whisper ends the side. The keyboards, percussion  and guitar in that song are fun. Is this the turning point for the album? Nope. Side 3 starts with Lampshade which is hideous.The fiddle comes out for Give Your Best as they return to country. The fiddle is fine, but the Bee Jees ruin it. This would have been a hard listen if it were a single album. As a double, it's painful.

While I may have gained a little appreciation for the Bee Gees beyond the “unbuttoned satin shirt and greasy chest hair” image we’ve come to know them for, this album and Trafalgar were both absolutely tedious to listen to. Odessa is the sound of a band ruminating in their own wind.

For me, it seems the inclusion if this album on this list works as possible form of enlightenment? I don't think I realized this band had been putting music out this early, nor did I know they sounded anything like this during this period. What I determined pretty quickly is I didn't hate it, but I didn't like it either. The baroque pop elements are good with interesting flourishes here and there, but it just doesn't quite get into areas that feel very deep. I also didn't care much for the vocals in places which is a big part of their sound. As an album, this feels like a dirge and lacks direction sort of leaving scraps behind. Also, Edison was not a good person, even though this song about him is pretty weird, and I kind of dig it.

oof... a Bee Gees concept album from when they were a 60s folk band? Nahh. Didn't make it through.

I never knew there was a pre-disco version of the Bee Gees. Turns out I didn't really need to know either. I'm not a disco fan. But I accept the iconic role the Bee Gees had in shaping that era in music and culture. However, "Odessa" feels like an also-ran in a late-60s era of much better, similar music.

better than expected but my bar was pretty low.

Get these guys a statue. 2nd best band from the Isle of Man... Sexy Breakfast if you're wondering...

Just as bad as "Trafalgar", an incredibly similar album from the same exact same band. We get it. The Bee Gees were doing Beatles cosplay (focus on the Ringo songs) while performing vocal gymnastics. Me: [Squints hard while pinching the bridge of my nose, signaling clear frustration.] "Look, Dimery... You do know that The Bee Gees only real contribution to music was when they took Disco Music from the Black and Gay dance clubs and delivered it to the White mainstream, right? Right?!? DISCO, Bobby!!! The. Bee. Gees. Are. DISCO. Full fuckin' stop."

Store-brand Beach Boys mixed with portentous orchestral arrangements with pseudo concept album nonsense sprinkled on top. Features some light-hearted, whimsical lyrics that don't match the instrumentation at all, which makes it worse. I hate this. Side note: It's hilarious to me that Robin Gibb left the band because his song Lamplight wasn't chosen as a single. Buddy, that song sucks. Pick your battles. Best track: You'll Never See My Face Again

OMG, there are so many low points in the first few songs my head was spinning trying to decide the lowest. Was it the pompous and schmaltzy Odessa, inspired by Robin Gibb seeing a travel brochure? Or trying to sound backwoods West Virginia on “Marley Purt drive” (with a “gotcha” at the end, letting us know the 15 kids are actually from an orphanage) or the choir in a song detailing Thomas Edison’s accomplishments? Or possibly the three symphonic pieces on the second disc that sound like they were written for “Lassi Come home”? Wikipedia tells us “The album was not well received by the public or the music press on release, and led to a decline in the band's fortunes.” No kidding.

I’m at a 4.5 that I’ll bump up to a 5 because I liked it enough, but… damn, this thing has some identity issues to me. Our second & final Bee Gees album on this list, meaning we won’t get to any of their disco stuff. The jury is out on whether that’s a bad thing or not. We got Trafalgar back in December 2024, and while I thought it was fine, it felt like an album less suited to the Bee Gees’ strengths. Part of that, of course, is the perception of the Bee Gees as those guys who sang “Stayin’ Alive” & “How Deep is Your Love”, so I just don’t think I was able to really give them the benefit of the doubt as a rock band. Going into this one with that perception helped a bit, as did the acknowledgement that this is part of the post-Sgt. Pepper’s trend of conceptual artsy albums trying to succeed in the wake of the Beatles. This isn’t really a concept album; it’s loosely based around the Odessa theming & the sort of loneliness and search for love that comes after drifting asea, but I would say this is as much of a “concept” album as, ironically, Sgt. Pepper’s – it’s just a framing device that allows the Bee Gees to experiment a little more. They take the experimentation to another level though; the orchestrally driven, almost pompous tone to this album feels heavier in scope & scale than one would expect, and while it kind of collapses under its own weight, the foundation of these tracks (their mildly cheesy songwriting & their vocals) is sturdy enough to stop this from feeling like it’s ever too much, save for a few tracks. I admire the scale of the album, honestly, but it’s part of the identity issues I alluded to; if this album was originally conceived as a full concept album, then the parts of it that remain feel really disconnected from some of the other tracks. For example, why the hell is “Edison” here? Lyrically, it feels about as weird as that Stevie Wonder tribute track from Grandmaster Flash a while back, and both vocally & orchestrally, it’s in such a weird box of trying to fit into the near regal tone of the first 3 tracks of the album. You could try to apply the same thing to “Marley Purt Drive” and its country-rock vibe, but it at least aligns with the sense of trying to rediscover love that was established in the title track. This general disconnect pops up a few times in the album (especially between the vocal & instrumental tracks on Side 3), but “Edison” really sticks out as the least necessary track here. Since most of the tracks here can still fall under the vague linking concept of the album (the rediscovery of love), it begs the question: did this need to be 17 tracks, or is part of it just padding? I would say no; this could definitely be trimmed down to a more essential tracklist, but since I did honestly enjoy the vast majority of this album, I’m not sure the album benefits from actually being trimmed down. While there’s not a super duper highlight standout track to me, there’s never a truly bad one here, and since I vibe a lot with the instrumental approach this album takes, I didn’t find myself with a sense of repetition. Granted, I did listen to the first half of this album & then took a break before listening to the second half, but still. There is one other part to this identity crisis; it’s a smaller one, and one I can’t really fault, but it’s definitely there for me. Some of these tracks are *really* Beatles-y. When I was listening to “Melody Fair”, for example, I couldn’t shake off the perception of “a weirder Eleanor Rigby”. “Lamplight” has an outro that feels a lot like “Hey Jude” to me, and “Give Your Best” feels like a little bit of a riff on “With A Little Help From My Friends”, at least lyrically. I understand you can’t escape their influence fully, but I feel like they were chasing The Beatles just a little too harshly here. There’s other examples of it on the album, but those are the ones that stick out most distinctly to me. There’s also a “chase” that applies in the sense of trying to make something timeless, not just from the album perspective, but from a worldly perspective. I admire the scope, but the most prevalent example of the Bee Gees overstepping their boundaries in a nearly flagrant way here is the bold audacity of “With All Nations (International Anthem)”. I can’t possibly imagine where the idea of making an international anthem would’ve possibly fit into the original concept, let alone on a side that has a square dance only two tracks before it, but even past that; the *Bee Gees* thought they could make a fucking international anthem? I mean, it sounds good, don’t get me wrong, but who let them delegate themselves for the job? It sounds like I’m ragging on this album, and in many ways, I am, but I’m only ragging on it because despite all of these things that might take down any other album as a piling series of mistakes, the Bee Gees somehow honestly make it work. The mixed-match conceptual tracks with the other stuff isn’t a big deal to my ears, since they’re all under the same general orchestral base for the most part, leaving each track less disconnected than they feel. It helps that Robin, Barry & Maurice all contribute some great vocals to the tracks that keeps the energy up throughout. The 17 tracks here is certainly long, but I don’t think the album necessarily benefits from trimming them down. The scope & scale of the album is almost pompously large, but taking that audacious of a swing and creating something that doesn’t totally collapse under it counts as a win in my book. It’s an enjoyable 63 minutes if you lean into it, and while I understand the 2.72 average it has on the site, I think it’s a bit unjustified. While I’m half tempted to bump it down to a 4, I think I admire this enough to bump it up to a 5, despite the sort of “identity crisis” I think it has. At the very worst, I think the floor for this album is a 3. A TL;DR of sorts: I liked it, sue me.

Wow, this is incredible. Some songs sound like early Beatles which is a good thing and makes sense, because this is also from the 60.

Ambitious.

There is just too much greatness here to leave it at a 3. The run time is too long and the country tunes throw off the album, but the sound, harmonies, orchestration are so perfect.

Wasn't sure what to expect from pre-disco Bee Gees. What I got was a very pleasant baroque pop album.

This was definitely not what I expected. When you think of The Bee Gees, you think disco obviously. But this album could not be farther from that. This is a double album filled with some really beautiful pop songs, some orchestral elements, and just overall the complete opposite of what I thought this would be going into it. The album starts off at an incredible point, if the album had stuck at that level I might be willing to give it a five, but it does eventually slip. Only one or two songs are truly weak but overall the album sorta begins to drag. It's a double album, clocking in at over an hour, and it would be much better if it was just 20-25 minutes shorter. Still some really great songs in here, though.

I feel like there’s two Bee Gees. There’s the Disco Era group responsible for the greatest movie soundtrack in cinema history, which I’m sure will be on this list at some point. Then there is the early almost-folk band responsible for songs like “I Started a Joke.” This album falls under the latter. It’s contains no big hits, is unnecessarily symphonic at some points … yet I found myself getting lost in it (a little) while driving down my semi-rural country road in the Fall. I think I need more early Bee Gees in my life.

Good album. Great harmonies. Songs are very Beatlesque. Many are very big, dramatic songs. A little of the famous Bee Gees falsetto is present but nothing the Saturday Night Fever disco stuff.

I really don’t understand why this album had such a low overall rating. What do you want? It’s The Bee Gees. Barry sings with ridiculous vibrato, and the one guy usually sounds like he’s singing with his mouth full of marbles. Same as all their albums. I liked this. Pre-disco Bee Gees are the best. Aside from the length (it could have been a few songs shorter) there weren’t really ANY tracks I didn’t like. I mean that. The album wasn’t amazing, but it was decent and fun. Favorite song was “First of May.” Excellent.

One whole single, the looooong way.

I had no idea the Bee Gees had music like this. I only knew the typical disco hits. I think this sounds like a combination between the Beatles, Simon & Garfunkel and the Beach Boys Pet Sounds. Which is pretty cool to me. Not exactly the kind of music I like becouse I'm more of a rocker myself. But this is very cool and well done.

I don't know what I expected from a 60s Bee Gee's record, but an hour long psychedelic baroque pop album about a ship wasn't it. It's not bad but it does drag a bit.

This is an absolutely bizarre project, in a way that I am extremely partial for. Not entirely, perhaps due to being primed by Trafalgar first. In chronological order, that album comes across as a less interesting and slimmer version of Odessa. However, the songs here ride the edge of too cute for their own good, and there are maximal arrangements galore stretched out over a double album. Essential? Not on first listen, but this could be a favorite once the palette is cleaner.

A high pitched no from my part

It was nice to hear some Bee Gees songs I had never heard before. It would’ve been even nicer to say I liked them. The instrumentation was all well and good, but the vocals really grate on my nerves.

Shit Beatles, shit Beach Boys, shit Donovan, shit Kinks. So much variety. So shit.

I was saving this album for a glittery night of disco fun and was a bit sad to realize Bee Gees weren’t always the boogie they’re best known for bringing. I’m sure this album had more merit than my confusion allowed me to see, but ionno, not for me, man

I hated this overblown, pretentious piece of over-long wannabe concept album garbage. I could enumerate the ways, but I just want the bitter taste of this record out of my mouth.

90 albums in. This is the worst thing I've heard. Its full of dull acoustic dirges with orchestration. Its almost like they said let's make an album hippies will like. Some of the lyrics are hysterically bad. (God, the one about Thomas Edison?) Dull bad dull bad. And its a bloody double album. Why? A disgrace. 1 (one)

As I have done here before, I will question the wisdom of picking this album for this list. It's pretty obvious this will not be the first album one thinks of when when one thinks Bee Gees. I might be wrong, but none of the hits that gave the band the reputation it rightly acquired can be found here (cough Saturday Night Fever cough). Which leads me to conclude, yet again, that this album was picked as yet another "look at me, I'm so smart, I picked the album you'd least expect" captain's call. Disappointing.

every single track on it sounds like its from a soundtrack to a film about a little boy who lost his family and grew up round the back of the bins but has such a chipper spirit that he manages to find joy in the desolate waste ground he lives in. come to think of it thats probably why its named after a ukranian city. either way its shit and we should probably nuke the isle of man in retribution for forcing this on us.

Sounded like a cover band except all they played were song I never heard. Thank god they found their sound later because it was painful to listen to them trying to sound like other bands. Sad.

What a mess! I remember well the first time I heard this album, one afternoon on a day when I stayed home from high school sick with an extreme fever. Perhaps inspired by those first feelings, I still view this album as a mad masterpiece. I love the wild variety of style and sound. The Bee Gees pull out all the stops and spread themselves in every direction to the point of breaking the band. I also enjoy pondering the questionable and weird lyrics. Who on earth would write a line like “I never lived inside your hole, child”? The scope and mystery of this music makes me marvel.

Perhaps the biggest dichotomy between expectations going in vs the reality I've ever experienced in this book. I think that gap in perception earns it 5 stars alone

Great album would have been great if they went for this type of music.

Nothing like I expected. So much variety in styles keeps it interesting the whole way through. There's country, rock n roll, orchestral, and definitely some Beatles influence.

Masterpiece!!

great album, first time listening to the bee gees. timeless

Okay, being honest, I'm not sure if this is a 10/10, maybe more of a 9/10, but hey, why should I care. This one spoke a lot to me. I'm not sure if it is, but it reminded me a lot of prog rock music, but with a little more sort of...softness to it, gentleness. I adored every song. It didn't feel too long, either. The guitars, the violins, keyboards...it all blends perfectly, to me at least. The album flow is amazing, which also reminded me of prog albums as well. The songs seemlessly blend into each other. The sound brings me back to memories of a warm spring walk by the river (Odessa, huh?). I like this a lot. Like a lot lot. I've been in a bit of rut recently due to medical issues but honestly? This just made me so damn happy. I was listening to this with a big smile on my face. And I think that says something. Beautiful work.

Amazing !!

Feel p much the same way ab this as I did ab trafalgar. Did not enjoy the song the album is named after and something about everything else just really worked for me.

4.5/5

Oh here comes a controversy one. I love Odessa so much it's like one of my all thime favorite track from Bee Gees (I'm not a fan for disco, obviously). It kind of transfers me to another time and space, like a spiritual journey on titanic or whatever the ship is. I love other songs in this album too, especially the strings, and that classic nostalgic 60s sounding is beyound satisfying, Seven Seas Symphony is huge. I love this one and I even think it deserves a 5/5.

Nicht gut?? Muss es denn immer nur rappen, kreischen und lärmen? Ich finde dieses Album großartig! Besser als das bald folgende Saturday Night Disco Gedöns! Volle Punktzahl!

Great

I was surprised that I liked this. It had Bee Gees sound- which I like a lot- but was different and somber. I could listen to this regularly.

I felt like a teenager again!

Majestic beautiful baroque and chamber pop and folk.

Loved some bits, bored by most

One of the best albums I've heard. It sort of invokes a certain feeling of evening tunes to listen to after a rough day . Loved the instrumentation and the vocals were top notch. Favourites have to be marley put drive and Edison

Such different from other Bee Gees albums and it is great

I LOVED this album. I need more Bee Gees in my life. Previously I though the Bee Gees were like a boy band from the 60s – bubble gum pop. But this album felt more like a Pink Floyd album: connected, thoughtful, and diverse.

love these guys

Nice a bit Experimental

I was really only familiar with their work on Saturday Night Fever. The Bee Gees were talented! I love the variety.

muito bom esse álbum tchê, não conhecia nenhuma mas muito agradáveis, instrumentadas con orquesta e voz agradável

_this_ is the Bee Gees? the same stayin alive bee gees. Mind blown, so good.

поразительно нежный и искренний альбом с отличными текстами и нежной мелодикой

А что, а как... это точно Bee Gees? Вообще полный шок. Поскольку ожидания от имени группы были совсем другие. Но музыка здесь оказалась настолько затягивающе разнообразной, что прям ах... Где-то это просто кантри-поп песни, где-то это перерастает в Пре-симфонические произведения, от которых даже мурашки по коже идут. Кода в финальном треке The British Opera, например: видимо, детство, проведённое за прослушиванием классики, даёт о себе знать приятными флэшбэками. Опять же, если вы ждали диско - надо ещё лет 8-10 подождать, потом кааак жахнут. Интересно, что их спровоцировало так резко сменить курс. Ну и забавно, что название альбома к Одессе имеет столько же отношения, сколько Великобритания к Чёрному морю.

The Bee Gees are one of those bands where I can only name five or so songs off the top of my head, but I’d bet that there are loads more that have fallen out of the confines of my petite brain. Let’s listen to an album in full today and see what we thing! Songs I already knew: none Favourites: Odessa, Melody Fair, First Of May There were times listening to this today when I had to check that I was still listening to the correct album. I had incorrectly assumed that the Bee Gees were entirely a disco band, but this album is far from it. It’s comparable to The Beatles at times, and has grandiose symphonies at others. First Of May leading into The British Opera gave me full body goosebumps and was something I’d never have thought would be the Bee Gees. If you’ve heard any Bee Gees disco music, regardless of whether you liked it or not, you should still give this a listen and see what you think.

This was not what I expected. As soon as I saw Bee Gees I almost didn’t even want to listen to it because I’m not a fan of disco at all. WOW. A genre-bending magical journey is the only way to describe this album.

It was really well done, and their original sounds with this album is fantastic. It’s either a hit or miss but don’t sleep on this, deserves a listen

Well this just smacks of quality. This isn't the Bee Gees I grew up with but it is top-notch!

I’m a big fan of The Bee Gees, but up until this project had not really looked into their 60s catalog of albums. It’s something I’ve meant to do, so I’m glad this project has finally jump-started this long overdue endeavor. The versatility and craftsmanship of The Bee Gees is quite evident when you consider the many decades and styles of music they have created. Now that I have listened to two of their 60s albums, I’m further impressed at their work. This album is fascinating, beautiful and ambitious and after a few listens I can now say I’m a fan of every decade of The Bee Gees. I loved the orchestral grandeur, the concept and backstory, and the songs. While they may not have the fierce hooks of some of their later hits, the songs on Odessa still have great melodies and complex arrangements and the songs opened up more with every listen. I only wish I was listening to the original flocked album!

Some fabulous Baroque pop that tickles my fancy greatly. Not what I expected from the Bee Gees though!

This aint disco. Reminds me of the beatles. Very cool stuff

Definitely influenced by The Beatles and the Beach Boys this album is great musically and can be put in the same category as some of the top albums of the 60s and 70s. Enjoyed this one a lot more than any other Bee Gees album I've heard.

nice

Oh! It's their Melody Fair!!

Listened twice in a row

This was beautiful, and sooooo different from what the Bee Gees are known. I mean, there was even some Country in there! Very pleasant listening experience.

This was an amazing album. I was well pleased.

I like them have many of their songs on my play list.

Bee Gees.

I had no idea the Bee Gees could sound like this - being only familiar with their hit singles. This album felt like a movie.

This is the second non-disco Bee Gees album I’ve heard now thanks to the generator

There is no doubt that Barry Gibb is one of the greatest pop songwriters of the 20th century. And the bee gees one of the greatest pop groups. Barry had all ten songs in the top ten in the uk at one point. Actually that might not be right but the number of absolute bangers, bops, classics and even a standard or two is phenomenal. This is a good album marred by ego trips and a lack of focus. Still, a good album. I don’t think Barry could write a dud song. And the leads and the harmonies of the brothers … just magic. They were to get better so 3.5 rounded up.

So I knew that the Bee Gees started out as a rock band before moving into disco. I did not know that the transition apparently included whatever the fuck this is, but it's good.

I honestly didn't really realize that the Bee Gees had a big pre-disco career. Interesting work.

Crazy how much this sounds like late Beatles stuff.

What can I say, I love sad Bee Gees

Mature and remarkable record! Give it a listen.

Wonderful album. I didnt know the Bee Gees played rock. I only knew them for their iconic disco songs. Enjoyed this album a lot. my rate: 9 out 10

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